Artistic research on human condition and human consciousness.  Consciousness as seen in eastern philosophies, spiritual practices, and rituals, involving consciousness as something beyond human control and rationality, existing only through experiencing and practicing methods such as meditation.

Sensory perceptions, memory and multi-sensory experiences through the liveness of an event.  Investigating how the body is transmitting and transforming external information, how it process them and how it triggers images from the past, to exist in the present.

The research developed towards synesthesia and cognitive pattern recognition.  Attempting to understand and acknowledge how senses and patterns come together, and what they might reveal.  Meanwhile, researching on experiments in history that are related on how human behaviour can change, how senses may select information, change patterns, and formulate other perscpectives.

The constitutions of the artistic research involve notions and matters of the self-model and world-model: cognition, patterns, consciousness, and sensations. Noise, sound, prosthetics, and rituals are the motivates the process, aiming to incarnate mental representations that the self holds within time. Time not as a linear line – but as an act of transparency; between subconscious and conscious.  Systems of knowledge and thought experiments that lead towards a theory of fiction.  Influenced by science, Greek mythology, psychology, cognitive sciences, and the gap between reality and perception.

Questioning the in betweenness of sensation and cognition, reality and perception, and how we result to be residues of the past.


What are the different levels of consciousness?

The main interest of my research and my practice is based on the human condition and human consciousness, whilst investigating these matters through sensory perceptions and memory.  More specifically, the experience of the senses are in fact important, in order to understand how the body is transmitting and transforming external informations.

How does human brain processes the environmental information?

This is one of the main questions to be asked when one is working with the senses.  Research made by Thomas Thesen, Jonas F. Vibell, Gemma A. Calvert and Robert A. Osterbauer entitled ‘Neuroimaging of Multisensory processing in vision, audition, touch and olfaction’ (2004), proves that vision can influence and interact with other senses.  The sensorial experience is actually a multi-sensory process and not as it has been thought traditionally, that human senses work in modules.  In that sense, each sense influence each other and the perception of a person is to be considered as whole sensation of experiences that each one of the interacts with each other.

Can a multi-sensory experience interact with memory?

In his book ‘The Smell of Books: A Cultural Study of Olfactory Perception in Literature’ (1992) by Hans Rindisbacher suggests that [smells] are no longer mere object smells, but they enter into an interactive perceptual relation with that vibratory organism the human has become, breaking down borders of subject and object, transgressing present and past, linking immediacy and memory.

While exploring the idea of the senses and especially vision, audition and olfactory, and while objectively investigating different experiences and concerns, my work is to be developed by negotiating the relation and communication with the self, through the ‘tension of thought patterns’.  Furthermore, by studying how sounds can influence the mental condition, that on physicality, functionality and in symbolistic diameters, the use of the body, links the work with ‘ritual transformations’.  Taking this into consideration, the intention of my work is to expand the relationship of the ‘tension of thought patterns’ and ‘ritual transformations’, and moving beyond from the ‘calculative thought’ of the viewer, to the directive presence, in order to trigger them.


I am really interested on limiting the moving abilities of the head which impacts the rest of the body by creating different performative installations.  The installations are usually consider informational inputs from society and how they impact the body’s freedom, that is externalised through sounds.

Is the human condition just a constituent/residue of the past?